Gala-goers, start thinking green.
Category: Metropolitan Museum of Art
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Vacheron Constantin and the Met Forge a Partnership
Educational programs are the focus of the agreement between the brand and the Metropolitan Museum of Art, but watches might come along, too.
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‘A Metta Prayer’ Brings a High-Energy Beat to the Met’s Great Hall
Bucking the rules, and the canon, Jacolby Satterwhite remakes the Met’s Great Hall with his multimedia “A Metta Prayer.” It draws on Titian and video games.
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Why Is Pacsun Releasing Clothes With the Met?
The unlikely coupling of art museum and mall brand has yielded three apparel collections, with a fourth releasing this month.
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Everyone Thought He Had Made the Famous Gown. It Was His Wife.
This fall, the Metropolitan and three other museums give female designers their due.
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A Poet’s View of the Met From Behind the Information Desk
On and off throughout the 1990s, the poet Robyn Schiff fielded questions — many bathroom-related — as part of her job working the museum’s famous octagonal information desk.
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The Met Walks a Fine Line on Karl Lagerfeld: Judge the Clothes, Not the Man.
“The Line of Beauty” focuses on dualities in the dazzling work of the legendary designer, but it is coy about the controversies.
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Pharaonic Funkatizing at the Met Roof Garden
Lauren Halsey built a personal monument drawing on sources from ancient Egypt to George Clinton to threatened neighborhoods of South Central Los Angeles.
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Sulwhasoo, the Korean Beauty Brand, Partners with the Metropolitan Museum of Art
Amorepacific partners with the Metropolitan Museum of Art to expand the reach of Sulwhasoo, their luxury Korean beauty brand.
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Met Museum Commissions Bring Contemporary Art Front and Center
With a new wing years away, the Met will highlight cutting-edge art with Nairy Baghramian on its facade and Jacolby Satterwhite in the Great Hall.
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When a Visit to the Museum Becomes an Ethical Dilemma
The New York Times – Travel:Western museums are major tourist attractions, drawing travelers from around the world. But what responsibility do we bear as spectators for patronizing institutions that display what critics say are stolen works?